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Today we’re announcing the release of Adobe Premiere Pro CC 2014.2, which contains some important editing enhancements, including support for Arri Open Gate media, the ability to set transitions and still image default durations in seconds or frames and Cineform Export improvements. We’ve also improved scrubbing and shuttling in long GOP MXF files. In addition, QuickTime and Cineform codecs are now available for use as sequence preview file formats on Windows.

For this release, we focused our efforts on addressing the most critical issues that affect customer workflows. With this goal in mind, a large number known issues and bugs have been fixed. Here are some of the notable issues resolved:

UltraHD is here to stay as more and more consumers demand content that makes them feel like they are part of an experience. Some analysts think that by the end of 2018, 10% of American households will have 4K capable TVs and by the end of 2024, that number could reach 50%. That means that it’s up to us, as content creators, to start getting comfortable with editing in 4K, 5K—or even 6K—to create Ultra HD content to meet this increasing demand.

The tools we need to shoot, edit and distribute this content are more important than ever. And, because it is not uncommon for a project that just took a few days of shooting to result into 1 to 2 terabytes of hard drive space, these big files need powerful software–not to mention bigger hard drives–that can edit the footage without choking.

Many of you will have noticed that when you attempt to open project files from a previous version in Premiere Pro CC 2014.1, you are prompted to convert to a new project (though the original project is not modified and remains on disk). A result of this is that projects saved in 2014.1 cannot be opened in previous versions of Premiere Pro.

Premiere Pro CC 2014.1 brought multiple new features to the application, and as a result, it was necessary to upgrade to a new project version. Please be aware of this compatibility issue if you’re collaborating with users who have not yet upgraded.

You can always reinstall previous versions from the Creative Cloud desktop application by using the ‘Previous Version’ filter. While there is no way to save a project from 2014.1 so that it can be opened in older versions, you can export an XML which can be imported by the older installation.

I’ve been the product manager for Adobe Premiere Pro for four years and have never been more excited to work with our product teams and customers as I am now. Most of you know by now that Premiere Pro CC was used as the exclusive NLE for David Fincher’s Gone Girl, the first Hollywood feature film shot in 6K. While you may already know how Premiere Pro helped the Gone Girl team work more efficiently, you likely don’t know how us working with the Gone Girl post-production team helped us build a better product.

Alongside the many new features in the Premiere Pro 2014.1 release, a great deal of known issues and bugs have been addressed. The following is a list of the key issues resolved. Many thanks to Mark Mapes for his hard work creating this list, which is arranged by functional area of the application.

Import

Import of CinemaDNG clip fails if the file has been renamed.

Gamma shift in some re-imported QuickTime IMX clips

Some QuickTime Reference files import without timecode.

Indexing of XDCAM clips can take an excessively long time, footage shows Media Pending until indexing completes.

Sorting by Duration is broken if the column has been moved during the current session

If the Project panel is filtered via Rapid Find when a bin is created, the edit control for naming the new bin does not become active automatically, and it cannot be activated manually until Rapid Find is cleared.

Project items cannot be deleted or renamed if the list view is scrolled to the right.

Project panel does not autoscroll to the left when a column is dragged to the right side of the Name column

When a timecode value is typed in the Video Out control for a clip in the Project panel, the value gets reduced by 2 frames upon committing the change

Subclip

When a soft subclip with only an Out Point set is edited into a sequence, the Subclip Start is ignored; the resulting track item extends all the way to Media Start.

The Media Start/End and Subclip Start/End times for subclips from a merged clip are incorrect

Editing/Timeline

3-Point edit: If the source is a sequence and only an Out Point is set for the source, the wrong segment gets inserted when KEM Roll is set to Insert as Individual Clips

Keyboard trim commands do not affect clips on targeted tracks that are outside of visible area of in the Timeline

In the Timeline, the FX badge gets hidden when the clip is not wide enough to show the full clip name.

If the Left/Right Balance control is displayed in Timeline header, the balance will change if the mouse strays over the Header region during click-and-drag operations in the Timeline (such as trimming out)

‘Select In to Out’ selects clips on locked tracks.

Multicam

If a multicam sequence’s audio is 5.1 or adaptive, then flattening deletes the audio.

If time-remapping is used on a Multicam Source Sequence, the Program Monitor’s multicam view continues to play at 100%; if source sequence was slowed, the Composite view goes black after the original end point.

When a multicam source sequence has been slowed down via speed change or time remapping, the extended of the clip goes black—no video

If the audio in a multicam sequence is selected when it is flattened, the audio is sometimes deleted.

Today we’re thrilled to announce the release of all-new versions of Adobe’s creative products, including the video and audio applications, which we previewed last month at IBC. You can find these releases in your Creative Cloud application later today (and if you don’t see them, just try quitting and re-launching).

The Premiere Pro CC 2014.1 release contains multiple new features and enhancements, including Search Bins, Timeline Search, Multiple Project Workflows, a new Source Monitor timeline view, and Consolidate and Transcode. It also sports improvements for Masking and Tracking and Master Clip Effects, and improved audio workflows such as more robust AAF export. For details on these features check out the blog post from last month, or the quick overview video.

This release also includes many other features designed to further streamline your editing workflow and let you work faster and more productively. A complete list of features not listed in the original blog post appears below.

4 font size choices for the Project Panel list view

A new metadata column has been added to the Project panel for Field info

Preference for label colors and clip names to update all instances and stay in sync

Sequence timecode can be displayed in the Program Monitor overlay

Audio timecode can be shown in the overlay for multicam clips

1 audio channel layouts adhere to ITU-R BR.1384

Preference to display the end of sequence indicator

Preference to write markers to the project file or media files

‘Discrete’ multichannel QuickTime exports

“Send To Audition” rendered files are now stored next to the originals

The Adobe Media Encoder CC (2014.1) update will be released today. This update includes new features, enhancements, and a number of fixes. The new features are detailed in an earlier IBC 2014 preview post you can read here http://adobe.ly/1qtT2BU . Two new feature, XAVC presets and AS-11 DPP have been added since IBC. See below for a list of all the new features and fixes.

Downloading Media Encoder CC (2014.1)

The 2014.1 update is expected to be available to Creative Cloud members by the end of the day. Download Media Encoder CC (2014.1) via Creative Cloud for desktop, or online through your Creative Cloud account.

Please note that as of the 2014 release, Media Encoder CC now has its own installer. That said, installing updates to Adobe Premiere Pro CC (2014 and later) will trigger the Media Encoder CC installation.

Adobe MAX 2014 announcements

This update is part of a series of new releases across all of the Creative Cloud desktop applications, as well as new and updated mobile apps, including Adobe Premiere Clip, a brand new iOS app which makes it easy to turn footage on an iPhone or iPad into great-looking videos. Details of the wider release will be presented today at Adobe MAX 2014, the world’s leading creativity conference.

Media Encoder CC (2014.1) New Features

Refined user interface with HiDPI support

Updated color scheme with flatter icons and support for HiDPI displays, including Mac Retina and Windows 8.1 systems.

Destination Publishing

Render and deliver content to FTP sites or local Creative Cloud folder. Send to multiple locations and track rendering and upload in the same panel.

Watch folder support for projectsWatch folders now support rendering for Premiere Pro, After Effects, and Final Cut XML project files.

Extended Match Source support

Match Source support has been extended to QuickTime and MXF OP1a formats, including those using DNxHD codecs, which are in an MXF wrapper.

Rewrap functionality for MXF OP1a formats

MXF OP1a formats, including those using DNxHD codecs, now include encoding presets.

Multiplexing during encodingMUX video and audio into a single MPEG2 file while encoding (instead of after the encode is complete.

Extended DCP support

Output 25 fps content in Digital Cinema Packages.

Extended Sony XAVC support

XAVC support now includes both VBR and CBG bitrate support for 2k and higher resolutions

GoPro CineForm intermediate codec support

Encode and decode movies using the GoPro CineForm codecs on both Mac OS and Windows.

16-channel AS-11 export

Export AS-11 content with 16 channels of audio.

AS-11 DPP – added since IBC Preview

Read and write AS-11 DDP compliant content packages

XAVC Presets – added since IBC Preview

While Media Encoder has supported XAVC for some time now, there had not been any presets available within the application. AME now includes presets for some of the more popular XAVC settings.

Media Encoder CC (2014.1) Bug Fixes

Fixed: Dolby exports were not able to run in parallel.

Fixed: When projects were imported natively, there was no progress status during the conforming process.

Fixed: YouTube HD presets had a level that was too low for high framerate sources.

Fixed: The “Use Previews” option wasn’t available when creating presets in the Preset Browser.

Fixed: Timecode in timecode overlay would drift slightly when using OpenCl.

Fixed: Smart rendering some sources would result in black or red frames.

Captions options were unavailable even though a source file had valid captions.

Fixed: Issues where smart rendering spanned CanonXF media would fail.

Fixed: Captions options were unavailable even though a source file had valid captions

Fixed a number of issues where effects were not being consistently applied to exports

Notes on pricing and availability

Today’s updates to Creative Cloud are expected to be available to Creative Cloud members by the end of the day as part of their membership at no additional cost. The new and updated mobile apps are free to everyone. More information will be available later today at: http://www.adobe.com/creativecloud/catalog/mobile.html.

To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later. Membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises. For pricing details, visit: https://www.adobe.com/creativecloud.html#buy.

Adobe’s professional applications continue to evolve at a blistering pace, and today we are thrilled to be announcing new features coming soon to the next release of Adobe Premiere Pro CC 2014, which is accompanied by announcements of all other video and audio desktop applications including Prelude, After Effects, SpeedGrade, Media Encoder, Audition and Adobe Story Plus. For an overview of the top new features for Adobe Pro Video check out the Creative Cloud blog – or reference our data sheet for more specifics.

All of the video applications feature a refined user interface, with new support for HiDPI displays on the Windows platform, accompanying the existing support for Apple Retina displays.

Premiere Pro boasts several new media and project management features to speed up workflows, especially when working across multiple projects and collaborating with others. New Search Bins allow editors to build new bins automatically, based on metadata searches within a project, with results showing as aliases of the original project items. An advanced Timeline Search makes it simple to find and select clips within a sequence based on specific criteria such as Clip Name or Marker comment. Significant and powerful improvements have been made to Multiple Project Workflows - multiple Media Browser panels can be open simultaneously, allowing fast browsing of other Premiere Pro and After Effects projects for easy access to their media and sequences. And the new Source Monitor Timeline View allows editors to preview sequences from other projects, getting direct access to their components to quickly bring into the current active project. Editors collaborating over shared storage will find working with each other’s projects is now a great deal easier.

When you’re ready to archive or move a project, Consolidate and Transcode is there to help. Consolidate and Transcode converts sequences or an entire project into a single codec, while retaining the ability to make edit adjustments later, and leaving original projects untouched. Render and Replace enables quick timeline renders of clips and dynamically linked After Effects composition, with the ability to return to the original media or comp at any time. And full encode/decode support for the GoPro CineForm codec offers Premiere Pro users a new, cross platform intermediate codec, with full support for alpha and large frame sizes of 4K and beyond – an excellent choice for workflows where transcoding to a well-performing intermediate codec makes sense.

Premiere Pro continues to be at the forefront of Ultra HD and 4K workflows, and now offers support for the AJA RAW format from the new AJA CION camera. As 4K RAW productions continue to increase and editors demand the best performance possible, Premiere Pro’s GPU optimizations also grow – this release sees GPU debayering for Phantom Cine and Canon RAW, alongside existing support for RED and CinemaDNG, for amazing playback performance.

Two of the major features from our June 2014 release also see major improvements. Masking and Tracking now offers performance improvements. a free-draw polygon pen tool, and easy, on-screen Bezier adjustments, with feathering and expansion now accessible directly from the monitor. And Master Clip Effects are enhanced, featuring indicators in the timeline to quickly see if a clip has a master clip effect applied, and improved navigation between sequence clip effects and master clip effects.

Audio workflows are also given a boost in the next release, with improved Send To Audition and enhancements to AAF export for workflows requiring integration with digital audio workstations. And of course, there are many other features and fixes in the release, with more information coming soon.

Adobe continues to develop the tools you need to stay creative while keeping up with the ever-changing video and broadcast industries, and we hope you’re as excited by the next wave of innovation in our creative video and audio desktop applications as we are. Stay tuned for more information.

If you can’t attend IBC in Amsterdam – be sure to keep up with all that’s going on with Adobe Pro video at the show on our dedicated Adobe Pro Video YouTube playlist!

Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12–17.

Today we are releasing an update to Premiere Pro CC 2014. This version (Premiere Pro CC 2014.0.1) provides important fixes and enhancements to the editing experience, and is recommended for all users.

Users can install this update directly from the Creative Cloud desktop application.
A list of notable changes in this release appears below.

Bug Fixes:
• ‘Async’ asserts could occur when exporting some file types
• Incorrect angles could be shown when separate multicam clips were created with different sort order
• Waveforms could be improperly drawn when nesting a multicam source sequence
• Effects could fail to render within effect mask boundaries
• Garbage could appear around the edge of a layer that had a blur video effect applied and a mask on Opacity
• Masks could offset Gaussian Blur in CUDA mode
• Attempting to move a column to the left of the Name column in the Project panel could break cell selection
• Occasional instance where sequences could never finished rendering
• Relinking to spanned MXF clips could be incorrect
• UI responsiveness could reduce in large projects after relinking
• Exporting merged clips could generate silent or missing audio
• Importing sequences could sometimes fail
• Incorrect timebases could be used on EDL export
• Incorrect field display could occur when using Mercury Transmit with GPU acceleration
• Audio presets were sometimes not working correctly if used with a different format container
• Complex video assets could produce a blurry image every 1 second when encoded into H.264
• Mask Expansion could not be rendered correctly during preview scrubbing on layers that were scaled to 50% or less
• Applying a speed change to a multicam clip could cause the extended duration of the clip to play with no video
• Merged clips that contain clips with sync offsets could display out of sync indicators when used in a sequence
• Crashes could occur during export to QuickTime.
• Masking and Tracking: Brightness & Contrast could be incorrectly displayed in an Adjustment Layer
• File import failures could occur when no assets were selected in the Locate Media dialog
• Asserts and crashes could occur when exporting project to OMF
• Crashes could occur when rendering audio with a locked submix track
• Submixes could sometimes lose audio
• Noise could be heard in submixes with empty tracks
• Source monitor timecode and program monitor overlay could be off from one another in multicam sequences
• Audio overlays for Multicam and nested sequences would only display as audio time units.
• 24p/50p XDCAM EX files were sometimes 1 frame short when smart rendered
• MPEG2 TS files with 6 tracks of stereo audio could only play/show first stereo track when imported in to PPro
• Playing IMX 50 clip could freeze video
• Locking all Audio Tracks could cause the system to slow down dramatically

Editing Enhancements:
• A Codec column was added to the Project Panel
• Sequence Timecode was added as a display option in the Monitor Overlays
• Clip name and Timecode filters can now be set to reference and display information for clips on specified source tracks.

UPDATE: Many users are reporting that the recent release of Mac OS X 10.9.4 has resolved these issues.

We are aware of an issue affecting users of Adobe Premiere Pro and Adobe Media Encoder on Mac OS X 10.9.3, where exports using the GPU can display unwanted artifacts. We are currently working with Apple on a fix, but unfortunately cannot yet estimate a timeframe for this. If possible, we recommend that users stay on OS X 10.9.2; if the upgrade has already been installed, then the current workaround is to disable the GPU during export.